It's a real powerful reminder that you don't necessarily need complex scales or theory to craft an exciting solo. In the words of Ben Maunder. You just don't want this solo to end, and it kind of doesn't.
Hi, I'm Nathan from JazzGuitarLessons.Net, and you're listening to episode one of album Deep Dives. Welcome to Jazz Guitar Lessons, where we help guitarists learn jazz faster, express themselves more fluently, and have fun along the way. My name is Mark, and if you're looking to learn jazz, form better practice habits, and especially if you enjoy a French accent, make sure to subscribe.
There is perhaps no record more influential among modern day jazz guitarists than 1960 Fives Smokin at the Half Note by Wynton Kelly Trio and Wes Montgomery. The combination of this iconic rhythm section classic Rudy van Gelder production and, of course, Wes's jaw dropping solos combined for a kind of enduring magic that has inspired musicians for over 50 years.
When asked which records influenced them the most, guitarists Peter Bernstein, Ben Mander and Pat Metheny each placed smokin at the half note at the very top of their list. Fresh Off recording on seminal Miles Davis albums such as Kind of Blue and Someday My Prince Will Come, the rhythm section of pianist Wynton Kelly, bassist Paul Chambers and drummer Jimmy Cobb went off on their own to start working as a trio.
Kelly's mastery as an accompanist, as well as the unmatched swing feel of Paul Chambers and Jimmy Cobb, saw them play with the likes of Joe Henderson, John Coltrane and Art Pepper. Make no mistake, the Wynton Kelly Trio is a serious contender for the greatest jazz rhythm section of all time. So in 1962, Riverside producer Orrin Keepnews saw the enormous potential in placing them behind the burgeoning star of West Montgomery.
Joined by saxophonist Johnny Griffin, they recorded the upbeat Latin tinged Full House, which is now a classic in its own right. The Kelly Trio linked up with West again in 1965, a year, which included a major U.S. tour, a Newport Jazz Festival appearance, and the recording of Smokin at the Half Note. Although the name and cover of Smokin at the Half Note imply a live record, the real story is a little bit more complicated.
The original Verve LP had only five tracks. The two tracks on Side A were recorded at the half Note Club in New York. While the three tracks on Side B were recorded at Van Gelder Studios in Englewood Cliffs, New Jersey, later reissues of the record also include bonus tracks, but this podcast will only cover the original LP, as that's what West would have heard during his lifetime.
I can't begin to imagine how fellow jazz guitarist felt when they heard Wes's solo for the first time on No Blues. The Miles Davis tune that opens the record. On the one hand, it's completely inspiring to hear someone at the top of the mountain swinging harder and with more sheer joy than ever before. On the other hand, it kind of makes me want to go and see if it's not too late to enroll in dentistry school after all.
West begins the solo, as he often did with a series of unassuming single note blues lines. A few choruses in, he starts to punctuate his lines with shots on beat, for which he does with his trademark octave technique. Jimmy Cobb quickly picks up on this and joins in on the drums. The syncopation here really gives the solo a sense of forward motion.
Wes's use of octaves on the shots in this section allow him to transition pretty seamlessly into a full on octave solo. His facility with this technique is incredible. In some ways, it feels more natural to hear Wes playing octaves than single notes.
This after some more interplay with the drums. West takes a cue from Kelly's comping and erupts into this masterful chord solo. At this point, Kelly drops out, and in the liner notes, it states that he turned around and stopped playing in complete amazement of what he was hearing. I don't blame him. Now I have to mention that harmonically Wes stays mostly in that blues wheelhouse throughout all of this.
It's a real powerful reminder that you don't necessary really need complex scales or theory to craft an exciting solo. In the words of Ben Maunder, you just don't want this solo to end. And it kind of doesn't.
The band slows things down on the second track. Tadd Dameron's If you could see me now. Pat Metheny has called Wes's solo here his favorite of all time. It's an absolute feast of constant ideas that are introduced and resolved in just a few bars, yet somehow never feel underdeveloped. You think that's beautiful? I wonder where I'll take that.
But before you know it, before you even finish the thought, he's on to the next. Even better idea. It's all held together by Wes's immaculate double time feel, culminating in another stunning octave section. Hey, everyone, just a quick break here. If you're loving this episode and you want to elevate your own jester skills, reach out to us. We've gathered thousands of guitarists in becoming accomplished jazzers beyond their wildest dreams.
So check the link in the description. Or visit jazz guitar lessons dot net to get started today. Okay, now back to the episode between the recording of Side one and two of Smokin at the Half Note. There was a gap of three months and a change of location. Now we hear the band at Rudy van Gelder Studio, the birthplace of classic jazz records, including A Love Supreme Maiden Voyage and countless Blue Note releases.
Before becoming a full time recording engineer, van Gelder worked as an optometrist using his savings from that job. He had the studio constructed to his specifications by an associate of the famous architect, Frank Lloyd Wright. The space resembles a church creating a natural reverb that changes the drum sound quite significantly, even without the excitement of the live setting.
The energy of the band doesn't diminish at all. On side two, once again, they pick things up with a blues. This time it's Unit seven by Sam Jones. The band plays this tune in a swing style, but switches into a Latin feel during the head. Wynton Kelly takes the first solo, backed by some sparse accompaniment from Wess. It's simple, but it's effective.
Comping using mostly the Charleston rhythmic figure and a horn like background line. Wes's solo here features one of the catchiest melodic sections of a blues solo that I've ever heard. You can hear how Producer Creed Taylor saw the commercial appeal in West Sound, which he later explored in records like A Day in the Life and the Next track, Four on Six, is an original Wes Montgomery tune that has now become something of a standard for jazz guitarists.
It's a catchy, hard bop tune with an opening figure based on the interval of a perfect fifth, which moves around the neck in parallel motion. Arrangement wise, this is the most complex track on the record, featuring solos from the entire band as well as an outro vamp. Although the solos are shorter than you might expect, given what you've already heard, such as that 13 minute jazz odyssey on No Blues, the variety on this track is integral to the overall flow of the record.
Closing Things Out is the standard ballad What's New Wes's role here is not unlike a jazz crooner. He mostly lays out, aside from his statement of the melody and a short solo. He plays the entire melody in Octave, adding tasteful blues lines that fit right in with the rest of the record. It's an effective way to end the side, leaving the listener in a kind of thoughtful state of wonder.
Luckily for diehard Wes fans, more recordings from these sessions exist and can be heard on the 2005 CD remaster. These are a little rough around the edges, but they're still worthwhile outtakes on which you can even hear Wess experiment with a tremolo effect. If you'd like to hear more recordings of this incredible band. I recommend searching for the posthumous Willow Weep for Me, which features string arrangements overdubbed on top of the half note sessions.
The 1966 Smokin in Seattle Live at the Penthouse, which is a spiritual successor to the Smokin at the Half Note recording and the aforementioned Full House. It's quite a shame that this group didn't record more as Smokin at the Half Note is now regarded as the pinnacle of jazz guitar recordings.
